photograph

Kimbei’s Five Hundred Arhats of Zenpō-ji Photograph

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Founded in the 10th century, Zenpō-ji, a Sōtō Zen monastery, is renowned for the protective prayers its resident priests chant each day. The temple is also famous for its remarkable collection of more than five hundred arhat statues, each carved with a distinct facial expression.

Arhats, the Awakened disciples of the Buddha, are regarded in East Asia as protectors of the Buddha’s teaching. Zenpō-ji, located near Tsuruoka in northeast Japan, has 531 unique arhat statues that were carved in the early 1850s.

The back of the mount bears a second photo of the Drum Bridge at Sumiyoshi in Osaka, suggesting this page was extracted from a tourist album of photographs. This hand-painted photo is attributed to Kusakabe Kimbei and dates to the 1890s; the photo of Zenpō-ji may also be a Kimbei print.

According to the temple, visitors are encouraged to look among the statues for one whose features resemble those of a deceased relative and to make offerings before it.

All 531 arhat statues were recently restored and repainted. For an informative introduction to Zenpō-ji and a behind-the-scenes look at the restoration process, see the temple’s video viewable here: https://tinyurl.com/4cefw6xp.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Esaki Reiji’s Pilgrims with Portable Shrine Photograph

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While temple visitors might view Buddhist images as immovable fixtures, Meiji-era photography reveals the remarkable portability of Buddhist icons. Here we see a pair of Japanese pilgrims with their portable shrine traveling through Nikko, a sign of Buddhist faith on the move.

The studio stock number (362) is currently unattributed, but fits within a sequence of numbers for photos taken in Nikko by Esaki Reiji, likely in the late 1880s or 1890s. Esaki was a prominent souvenir album photographer in Asakusa, a tourist-friendly area of Tokyo.

As described by Chun-Wa Chan, portable Buddhist shrines were already in use by the 5th century in the region of Gandhara and were introduced into Japan a few centuries later. Portable Japanese shrines (zushi) were often ornately decorated and fitted with doors to conceal the icon inside.

Pilgrims would carry the frame on their backs as they moved from one location to the next. A large bell rests in a basket hung off the side, ready to be struck by a mallet held in the pilgrim’s hand on the left. His other hand holds a long string of mala beads.

Obscured by flower offerings, the Buddhist icon sits at just above eye level in the shrine. For more on this topic, see Chan’s “Portable Faith: Toward a Non-Site-Specific History of Buddhist Art in Japan,” viewable here: https://tinyurl.com/3tde394d.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Jean Claude White’s Panorama Photograph of Lhasa

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By the early 20th century there was an unofficial race to capture a photograph of Lhasa, the religious center of Tibet. In 1905 National Geographic printed a few of the first photos of the region and a decade later, in 1916, published a large panoramic insert of Lhasa’s Potala Palace.

The shot was taken by Jean Claude White, a civil servant in British India who traveled with the 1903-04 British Youghusband expedition to Tibet as the official mission photographer. National Geographic reproduced many photos White took on the expedition, including this stunning panoramic view.

The Potala dominates everything in Lhasa,” notes White in his accompanying article entitled, “The World’s Strangest Capital.” Illustrated with 19 photogravure prints, all the photos seem to have been taken during the Youghusband expedition, giving readers very early and rare views of Tibet.

The first photo in the article shows the Western Gate to Lhasa, known as the Pargo Kaling. The structure was a large stūpa with a walkway cut through the middle.

White also visited sites outside of Lhasa, including the Lhalung Monastery.

According to White’s estimate, there were 500,000 monks living in 1026 monasteries.

White also visited a Buddhist convent in Sikkim. The striking sheep’s wool hats were dyed red.

This photo was taken at Khamba Dzong, in Sikkim, where Youghusband planned to negotiate his entrance into Lhasa. The failure of talks with Tibetan officials eventually led to the forceful and bloody advance of Youghusband into Tibet.

A rare photo by White of Thubten Choekyi Nyima, the 9th Panchen Lama of Tibet.

The thirteen-story Potala was based upon early Tibetan castles and fortified camps, but soon was seen by many as a symbol of Tibet itself. To read the “The World’s Strangest Capital” (without the panorama insert), see here: https://tinyurl.com/5fd596mx.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Universal Studio’s Back Lot Buddha Photograph

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The Golden Age of Hollywood expanded the theatrical tradition of set design to create a more immersive world on screen. Through the 1920s studio art directors built bigger sets and fine Buddhist statuary that was once purchased or borrowed was increasingly made of wood and plaster.

When Carl Laemmle opened Universal City in 1915, it garnered such public acclaim he decided to make studio tours a permanent attraction. Here we see a photograph (and duplicate) of the Universal back lot where a visitor sizes up one of the plaster buddhas on display.

An inscription dates the photo to 1929. At this time Charles Hall was the art director for Universal, famous for his gothic aesthetic seen in the classic films Phantom of the Opera, Dracula, and Frankenstein. Was this buddha statue a creation of Hall for a new Universal film?

believe not. The cracks in the plaster suggest wear and age, not the process of crafting (see also the broken curls of hair below). Moreover, a very similar plaster buddha was created for Universal’s The Breath of the Gods in 1920, before Hall was hired, starring Tsuru Aoki.

Unfortunately, The Breath of the Gods is now lost and production stills remain the best evidence for set design. Popular Science ran a short article on the film, showing the construction of a new plaster buddha, is it the same one? Article viewable here: https://tinyurl.com/3jzhc3rj.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Nikko’s Yashamon “Demon Gate” Photograph

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The Taiyū-in Shrine, in idyllic Nikko, is the final resting place of shōgun Tokugawa Iemitsu, one of the “Great Unifiers” of Japan. The compound is punctuated by several ornate gate houses, including the one here known as Yashamon for the Buddhist guardian figures protecting it.

Completed in 1653, Iemitsu’s mausoleum blends both Shinto and Buddhist architectural styles and elements. The Yashamon is the third gate within the compound and houses four icons of weapon-wielding yakṣa (J. yasha) who have history in Buddhist Asia as temple guardians.

This photograph was taken in the late 1880s or 1890s and most likely reflects one of the many Japanese-owned photography studios that catered to foreign visitors.

Not as grand or sophisticated as Nikko’s main attraction, Tōshō-gū, the Taiyū-in Shrine still displays highly skilled craftsmanship.Looking closely, the Yashamon is covered with delicately carved peonies (painted light blue on the photo), and thus is also called Botanmon, or the Peony Gate.

As one walks through Taiyū-in Shrine, the Yashamon is first seen atop a flight of steps, but if you cross the threshold and turn around, two yakṣa peer back at you. The blue figure on the left is Umarokya holding a bow and arrow.

The fierce white-skinned yakṣa on the right is Kendara who carries a weapon on his shoulder.Due to the warrior nature of these images another name for this gate was sometimes used in turn-of-the-century guidebooks: the Demon Gate.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Tamamura Kōzaburō’s Kamakura Daibutsu Photograph For Brinkley’s Japan

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An astounding 400,000 hand-colored photographic prints were used for all editions of Francis Brinkley’s Japan: Described and Illustrated by the Japanese. Produced in Boston between 1897 and 1898, this work was the pinnacle of photographic book publishing at the turn of the century.

The photographs were imported from Japan from the Yokohama studio of Tamamura Kōzaburō, one of the most prolific Japanese photographers of his generation. He reportedly employed 350 artists for several months to complete the job, yet Tamamura’s name is omitted from the final publication.

Unlike most books of the era which used photomechanical prints, Brinkley’s Japan used mounted photographs. The Great Buddha of Kamakura was the second full page photograph, following Mt. Fuji, in the first volume, suggesting its perceived value in the American visual language of Japan.

Tamamura’s output was so extensive in preparation for Brinkley’s book, there was a fivefold increase in Japan’s photography exports between 1895 and 1896. This volume of work was achieved at expense of quality, as many of the color washes are pale and poorly executed.

While the number of one million photos for Brinkley’s Japan was likely exaggerated by Tamamura for publicity, this was truly an enormous undertaking. To view the first volume of Brinkley’s Japan held by the Getty Museum, see here: https://tinyurl.com/bddt5z32.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Felice Beato’s Kichizo Jizō Photograph

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This Jizō statue stood on the banks of Lake Ashi in Hakone for 150 years when Felice Beato took this photo in the 1860s. Within a decade, the lakeside statue would be vandalized, sold, and removed in the aftermath of the Buddhist persecution during the early Meiji era.

Beato was a Yokohama-based photographer who found success selling photographic prints to early, thrill-seeking globetrotters. Here we see a hand-colored albumen print of the statue known as Kichizo Jizō, originally found on the grounds of Kongō-ō Temple off the Tōkaidō route.

Another photo showing scenic Lake Ashi is attached to the reverse, but this image is often attributed to Baron von Stillfried. Beato sold most of his stock to Stillfried in 1877, suggesting this page was removed from a tourist album sold by Stillfried in the late 1870s.

The bronze Kichizo Jizo statue was commissioned in 1713 and was placed with a cluster of smaller Jizō statues that sat along the shoreline (another Jizō is partly visible on the far right edge). Looking closely at Beato’s photo, we also see two Japanese men praying to the bodhisattva.

During Japan’s Buddhist persecution, the large Kongōō Temple lost its holdings and much of its statuary was eventually sold off. While smaller statues were lost in the chaos, the Kichizo Jizo was sold to a Tokyo dealer who transported it down the Odawara coast to be shipped off.

According to lore, the icon became immovable at port and was subsequently purchased by Tokujo Temple, where it remains enshrined today. To view an intact 1868 Beato souvenir album containing this photo, see the Hood Museum at Dartmouth: https://tinyurl.com/mpzhrb5d.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Fresno’s “Joss House” Press Photograph

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Often overshadowed by San Francisco, by 1890 Fresno’s Chinatown was one of the largest in California and the center of much religious activity. Notably, among the few surviving 19th century Chinese American religious icons, we can include those from Fresno’s Temple of Many Saints.

The Chinese diaspora community opened many religious centers across the Pacific under the name Temple of Many Saints (liesheng gong 列聖宮) for use among local Chinese immigrants. Fresno’s temple opened in the 1880s and was located on G Street.

This Fresno Bee archival photograph shows three of the five icons displayed on the main altar. Closed to the public in 1936, the temple was demolished in 1965 shortly after this photograph; the temple artifacts were donated to the Fresno Historical Society and were in storage until last year.

The five icons included the Northern Emperor, Guandi, Tianhou, Huatuo, and Caishen, also known as the “God of Wealth” (seen here). At times, the Buddhist figure Guanyin replaced one of these icons in the Temple of Many Saints found across North America, but that was not the case in Fresno.

Guandi (seen here) was a deified historical general and cultural hero who was a symbol of integrity and loyalty. Widely celebrated by many Chinese district associations and fraternal societies, Guandi was arguably the most popular early Chinese American deity.

The Northern Emperor was a celestial deity famed among many immigrants from southern China. Last year, the Chinese American Museum Project and the Fresno Historical Society arranged a “From China to Fresno: A 150-year Cultural Journey” exhibit, see here: tinyurl.com/4jeea4cu.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Wilhelm Burger’s Kamakura Daibutsu Photograph

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Tales of Tourist Photos, Pt. 2*: Old “wet-plate” photography required glass negatives to be coated, sensitized, exposed, and developed in less than fifteen minutes. Using the dry-plate method, negatives could be prepared beforehand; Wilhelm Burger was among the first to use this in Japan.
*[Part 1]

Burger was photographer for the 1869 Imperial Austrian Expedition to East Asia, but illness allowed him to remain in Japan for the winter after the legation left. Tasked in part to photograph art objects, Burger visited the Kamakura Daibutsu with large glass negatives he prepared in Europe.

The handwritten inscription on the back of this photographic print reads, “This Image is all Bronze, name Diaboots.” “Diaboots,” or Daiboots, was the Yokohama treaty port vernacular for the Kamakura Daibutsu through the 1860s.

While Burger created a sizable portfolio of arts and crafts during the embassy, his photographs at Kōtoku-in in Kamakura appear more tourist-like than documentary. Here, several people pose for the camera, including what may appear to be Buddhist priests and three men in European attire.

To my knowledge, the people remain unidentified; Burger’s apprentice, Michael Moser, stayed in Japan after the embassy returned (and remained after Burger left). Moreover, Italian-born Felice Beato operated a successful Yokohama-based photography studio at the time – could either be seen here?

On his return to Vienna in 1870, Burger exhibited his Japanese portfolio to broad public acclaim. For more on Burger’s photographic process, see Tani Akiyoshi & Peter Pantzer’s “Wilhelm Burger’s Photographs of Japan,” PhotoResearcher 15 (2011): 40–50.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Guanyin Icon in The Mask of Fu Manchu (1932)

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Fu Manchu’s opulent Gobi Desert lair seen in The Mask of Fu Manchu (1932) was assembled by MGM art director Cedric Gibbons. While the Art Deco inspired torture chambers remain horror classics, Gibbons’ strategic use of Buddhist statuary also hint to the audience impending danger.

Boris Karloff portrayed the villainous doctor Fu Manchu, here sitting on a throne introducing his daughter Fah Lo See (Myrna Loy). This scene unfolds under the eyes of a shadowy Buddhist figure perched atop the throne; close inspection reveals this to be in the style of a Guanyin statue.

Many props Gibbons used were made at the studio, including some of the Buddhist statues seen on screen. The idiosyncratic elements, including the multi-rayed halo, suggested this statue was pieced together by set designers; it was seen previously in Daughter of the Dragon (1931).

Curiously, the ornate backrest of the throne makes it appear as if Fu Manchu himself is a statue encircled by a halo. Like a menacing statue come to life, the audience can surmise the visitor will suffer at the hands of the villain.

Fu Manchu played on the racist fears of the Yellow Peril; in film, these fears could also be signified by Buddhist imagery. For further discussion of the dueling positive and negative views of China in American cinema, see Naomi Greene’s From Fu Manchu to Kung Fu Panda (2014).

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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